A few weeks ago I had the opportunity to shoot with the Panasonic DVX200 for a couple of days. I did post my initial impressions here, you can read them in case you haven’t done so already. All my footage so far has been shot in V-Log L as this is the profile which gives the highest dynamic range from this camera – 12 stops according to Panasonic. Now, I haven’t shot charts or performed lab tests with controlled lighting, so I cannot attest to the truthfulness of this statement, however, so far from the limited time I spent with the camera, I like the images out of it. See for yourselves below and let me know what you think in the comment section.
October – Panasonic DVX200 4K Test Footage V-Log L: Part 2 from 4K Shooters on Vimeo.
And here is the YouTube 4K version. Make sure you select 2160p from the wrench in the quality option.
Shot on the Panasonic AG-DVX200 4K Camcorder in V-Log L at 4K (4096 x 2160) in 24p. Make sure to select 2160p from the Quality Settings above.
You can buy the Panasonic DVX200 from B&H: bhpho.to/20lPz94
or from Visual Impact if you’re in the UK here: visuals.co.uk/panasonic-ag-dvx200-4k-camcorder.htmlQuick grade in Premiere Pro CC 2015:
1. De-Log with Varicam LOG to Rec.709 LUT
2. Secondary LUT – Fuji ETERNA 250D Kodak 2395 by Adobe (built in Premiere
3. Faded Film at 30%
4. Contrast at 16%
5. WB: 6500 – 7000
6. Minor adjustments to exposure – 0.1 to +/- 0.2 here and there.Music: Tyler Twombly freemusicarchive.org/music/Tyler_Twombly/
Thanks to VI Rental in Teddington for supplying the camera – virental.co.uk/
Panasonic DVX200 Highlights
- 4/3 MOS Sensor with 12 Stops DR
- V-Log L gamma
- DCI 4K (4096 x 2160) recording at 24P
- UHD (3840 x 2160) up to 50/60p
- Variable Frame Rate Up to 120 fps in 1080p
- MP4/MOV Recording in 4K
- AVCHD format
- Integrated Leica 13x f/2.8 – f/4.5 Zoom Lens
- 3 x Individual Lens Control Rings
- Waveform, Zebra, Focus Assist dedicated buttons
- 2 x XLR audio inputs
- 2 x SD Cards Slots (U3 Compatible)
- 4.3-inch fold-out LCD touchscreen
- HDMI 2.0 (supports 4K out)
- 3G-SDI Output
October – Panasonic DVX200 4K Test Footage V-Log L: Part 1 from 4K Shooters on Vimeo.
Youtube 4K version:
While, I’ve shot only in V-Log with the DVX200, I am still yet to explore the Scene profiles, which offer a more baked-in look for faster turnaround times in post. This has been a frequently requested test from folks who’ve contacted me via email, comments, or over at the dedicated DVX200 thread over at DVXuser.com. I will do my best to test Scene files the next time I get a chance to shoot with the camera again. Hopefully this will be soon.
A few more notes and observations from the footage above.
- No Exposure +/- meter in the LCD screen/Viewfinder (this has been confirmed by Barry Green here) – at first I though I had to enable it in the menu, but couldn’t find it anywhere
- V-Log is difficult to expose for especially for overcast sky/white hair (duh!) – highlight patterns in clouds especially may appear washed out or blown while using some more aggressive LUT’s that lift the highs too much – you have to carefully monitor the Waveform monitor in Premiere or your NLE/grading suite in post. Best to keep them in legal values below 235 or 79 IRE. Most of this footage was backlight and filmed in the late afternoon.
- Knee doesn’t work in V-Log; only in Scene files – Knee gives you more control over the top end of the highlights.
- The waveform in the LCD touchscreen can be repositioned, but all other markers and monitor info disappears
- You can’t use Focus Assist (peaking) and Waveform at the same time! – that’s one of my major gripes so far
- 4K 8bit 420 is gradable, but don’t push it too far – you can see some banding in the skies
- The Autofocus works well – it’s not super fast, neither slow. Just works
- Bokeh (when at the long end of the lens or wide open at standard focal lengths) is alright – not so pleasing and creamy as I’d like it to be, but definitely not ugly. You can see some blurred background shots in the footage above. Those chasing a more cinematic look with this camera shouldn’t be too worried – the 13x zoom lens combo (even though it’s not a constant f2.8) combined with the 4/3 CMOS chip make for a decent quasi-cinematic look.
Hope this has been somewhat helpful. More footage and a full review coming up soon. You can order the camera from the official dealers below depending on your preference/location. Many thanks to Visual Impact for providing me with the camera for two days to shoot with.
B&H Link: Panasonic AG-DVX200 4K Camera – $4,195
Disclaimer: As an Amazon Associate partner and participant in B&H and Adorama Affiliate programmes, we earn a small comission from each purchase made through the affiliate links listed above at no additional cost to you.
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